When the muse moves me I write about my people lest I move nearer and nearer to the maddening crowd and do not return to forever

My Blog List

Sunday, June 3, 2018

YOU CAN DANCE TO THE MUSIC

The Counterpoint of Classical Music and Black People.

Recently, black musicians playing classic music have attracted the attention of more than a few people. Actually, and factually, we have been playing this genre of music since the 1820’s, with black musicians and composers to still learn about and celebrate. Ambivalence seems to ransack the thoughts of both musicians and listeners. A true counterpoint exists. And as in any counterpoint in music the independent parts are also interdependent.

The typical, negative reaction of most blacks to classical music is largely based on two factors: The mere sound of the music, and, probably more important, the historical relationship between Europe and Africa and the Caribbean.

So what happens to a black listener or musician who falls in love with classical music? How do you react to those whites and blacks, and voices in your head, telling you it’s not black people music, so leave it alone? Do you note that classical music ranges in style from baroque to "classical" to romantic to modern, with sometimes razor-thin separation, if any, between traditional classical music and jazz in the modern style of classical music? Do you counter by reminding them of all the genres of music blacks have given to the world, or do you walk away and deny the genuine emotions you feel, and ask why are others denying what must be the same emotions on hearing, at least some forms of, classical music?

It may just be that a black person, listener or musician, has to live a bipolar life. A life in which you understand and value the contributions of black people to music on one hand, or in one head, and, on the other hand, or in the other head, notwithstanding the history of Europe, or standing with a constant reminder of the history of Europe, you do the same valuation of European classical music.

But how can you live such a crowded, maddening life without seeking to find “that tune”. That tune that has never been played. That tune that some refuse to hear. That tune that says until and unless Reparation is seen as a civilizing principle and process, for whites and blacks, to the actualizing end, dissonance will ravage and consume the counterpoint. And that is not music.

About Me

The hard work and adversity of my
parents and the dedication of my teachers ignited in me a passion for arts and
science and an everlasting quest for knowledge.

I spent 13 years in Jamaica at UWI,
where I met my wife, Norma and we brought two wonderful children, Sawandi and
Sabriya, into this world. Sawandi is a doctor and musician and a Red Bull Music
Academy Winner. Sabriya has a Masters Degree in Psychology. She is the 2007
Jamaican National Visual Arts silver-medalist, a photographer and a poet.

I am the director of the Mount St.
John’s Medical Center laboratory. My wife and I manage our private lab, Medpath
Clinical Laboratory. I spent about 3 years in England pursuing additional
postgraduate training for periods from 3 months to 1 year. My understanding of
music is largely due to Melba Liston, former head of the Afro-American
department of the Jamaica School of Music.

I play the soprano, alto and tenor
saxophone. Other musical instruments I play or practice on include: single
tenor and double seconds steel pans, clarinet and bass clarinet, flute alto
flute and piccolo, violin, acoustic bass guitar, accordion, piano, harmonica,
English horn, bassoon.